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BEST NEWS!

VOL 18 + ISSUE 27

JULY 7, 2016 - JULY 14, 2016 EDITORIAL PUBLISHER + EDITOR Jeff lawrence NEWS + FEATURES EDITOR Chris Faraone ASSOCIATE MUSIC EDITOR Nina Corcoran ASSOCIATE FILM EDITOR Jake Mulligan ASSOCIATE ARTS EDITOR Christopher Ehlers COPY EDITOR Mitchell Dewar CONTRIBUTING EDITORS Emily Hopkins, Jason Pramas CONTRIBUTORS Nate Boroyan, Renan Fontes, Bill Hayduke, Emily Hopkins, Micaela Kimball, Jason Pramas, Dave Wedge INTERNS Becca DeGregorio, Anna Marketti

DESIGN CREATIVE DIRECTOR Tak Toyoshima INTERN Alina MacLean COMICS Tim Chamberlain Pat Falco Patt Kelley

ADVERTISING FOR ADVERTISING INFORMATION sales@digpublishing.com

BUSINESS ASSOCIATE PUBLISHER Marc Shepard SENIOR ACCOUNT MANAGER Jesse Weiss

DEAR READER The VANS Warped Tour was one of those musical indie circuses you had to attend at least once in your lifetime. Whether it was during the glory punk days with bands like Agent Orange, Green Day, or Limp Bizkit (I’m joking) or during the more glamorous years of Beck, Eminem, and Social Distortion (see what I did there?), there was always a narrative that fit the summer and a reason you’ll remember it forever.

Now 21 years down and still running, our own intrepid musical man-about-mayhem, Dave Wedge, takes a quick look at one of the oldest music festivals around. What he finds is that the song remains the same, that the momentum that started it all is still there, and the bands that helped it happen are still around. That either sucks or kicks ass, depending on who you are.

That’s the funny thing about the Warped: As we age through our cycles and styles, progressive from indie that’s now classic to classic that’s now indie, there’s always an ear to bend, and the pull to be among throngs of fellow fans has never been stronger. There are literally hundreds of music festivals to choose from, most of which too expensive for many and out of reach for the rest, but there are still those that actually come to you and with a ticket price you can swallow and a lineup that just might not suck. And that’s why we keep coming back and they keep coming.

IMPROV ASYLUM IS TAKING OVER LAUGH BOSTON THIS SUMMER.

FRIDAYS & SATURDAYS IN JULY & AUGUST THE BEST of

JEFF LAWRENCE - PUBLISHER + EDITOR, DigBoston

OH, CRUEL WORLD

ADVISOR Joseph B. Darby III DigBoston, 242 East Berkeley St. 5th Floor Boston, MA 02118 Fax 617.849.5990 Phone 617.426.8942 digboston.com

ON THE COVER Girlpool get a little rest and relaxation on our cver this week. Read about what they’re up to on page 18. Photo by Allyssa Yohana.

©2016 DIGBOSTON IS PUBLISHED WEEKLY BY DIG PUBLISHING LLC. NO PART OF THIS PUBLICATION CAN BE REPRODUCED WITHOUT WRITTEN CONSENT. DIG PUBLISHING LLC CANNOT BE HELD LIABLE FOR ANY TYPOGRAPHICAL ERRORS. ONE COPY OF DIGBOSTON IS AVAILABLE FREE TO MASSACHUSETTS RESIDENTS AND VISITORS EACH WEEK. ANYONE REMOVING PAPERS IN BULK WILL BE PROSECUTED ON THEFT CHARGES TO THE FULLEST EXTENT OF THE LAW.

Dear Amateur Food Photographer, You and your kind have taken your ridiculous and meal-ruining (for the rest of us at the table at least) behavior to the extent that mocking you has become quite cliche, but I don’t care. This Fourth of July weekend was insufferable with all your Instagrams of lobsters and corn, bloated wannabe gourmet hamburgers and whatever else. You’re like rappers who brag about smoking weed—SO WHAT? ANYONE CAN BUY A LOT OF WEED AND SMOKE IT. THAT DOESN’T MAKE YOU SPECIAL. I’ll just never understand how a picture of anyone’s personal food stash makes for compelling content. But I guess that’s what makes me different from individuals who think that a candid of a plate of colon cancer is worth disseminating on social media.

617.72.LAUGH | laughboston.com 425 Summer Street at the Westin Hotel in Boston’s Seaport District NEWS TO US

FEATURE

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NEWS US

COMMON GROUND NEWS TO US

Meet the students from the most important school in Boston that you’ve never heard of

BY PRESS PASS TV AND THE STUDENTS OF COMMUNITY ACADEMY | INTRODUCTION BY CHRIS FARAONE

Public schools in Boston have seemingly made more headlines than usual lately. Some stories have covered the fight over department budgeting and allocations, but a disproportionate heap of attention has been paid to the fate of Boston Latin School, the Hub’s famously elite institution that graduates more than 99 percent of its students.

But what of the rest? How about the struggling programs? What about the bottom, sometimes forgotten rung where schools are in perpetual turmoil and can’t dream of attracting media coverage, positive or negative?

The shooting of an English High School student by one of his deans last year, for example, received far less attention than allegations of racial discrimination at BLS. For three years, our friends at the nonprofit Press Pass TV, which helps to amplify youth perspectives by engaging young people in conceiving and producing original content, worked with students at Community Academy in Jamaica Plain, an alternative BPS high school that is often a last resort for youth who are in danger of leaving or being expelled from the system. Press Pass has offered classes there from Resilient Coders, which teaches web site development, as well as from Sneakers 4 Success, which collaborated with students on a shoe that was produced

by Reebok. Since Community Academy is often on the chopping block—most recently, the building was slated for closure at the end of the 2014-2015 academic year but was saved at the urging of concerned parents and teachers—Press Pass TV staff felt it was important to note the school’s rather extraordinary history and to chronicle the passion that so many people have for the place.

Community Academy first opened at the Roxbury Boys & Girls Club in the 1994-1995 year, when the alternative 4

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program was described by the Boston Globe as serving students who were “expelled from, or dropped out of, traditional high schools.” Under the leadership of the tireless youth advocate Brenda Love, two of the school’s first dozen graduates went on to attend college. In 1996, the student-teacher ratio was approximately 15 to 1, with apparent success on the horizon, but the following year the program was bounced to a smaller, less adequate location in the Shelburne Community Center, leading the Globe to lament the “ill-conceived decision, ending what should have been a long partnership and a model for other nonprofit groups.” Asked about the wrench in plans, Love told reporters, “This has produced the first dropouts in our history. Kids trying to make a positive change in their lives are depressed by this indecision.”

Before and after settling in its current location on the increasingly gentrified Jamaica Plain side of Egleston Square, there’s been a near-perpetual threat to the existence of Community Academy. Before last year’s scare, in 2010 then-BPS Superintendent Carol Johnson recommended closing the alternative along with several other schools, but decided to keep the academy open after learning of its success helping students from non-Englishspeaking backgrounds.

In considering the plight and state of Community Academy—the dropout rate was 57 percent in 2015 (compared with 11.9 percent district-wide and 0.4 percent at an elite exam school like Boston Latin Academy)—it is important to acknowledge the remarkable pain its population has endured through the years. From almost the beginning, students from the school have had their lives cut short by senseless violence; in 1997, Community Academy student Eric Paulding became the first juvenile

murder victim in two years at the time. Other students included the 14-year-old who was shot in the mouth

by BPD homicide detectives in 2003 after he allegedly brandished a firearm, as well as 17-year-old Charles Ajene, a Mattapan native who was killed outside a carnival that same year. In 2005, 19-year-old Eric Perkins was murdered in Mattapan while coming home from work; he had graduated from Community Academy after being tossed from East Boston High School. In 2010, 17-year-old Community Academy student Ivol Brown was stabbed to death, and in 2011, 17-year-old James Coakley, who also attended the school, was killed over July 4 weekend.

Despite torrential hardship—or perhaps in large part because of it—there is significant school pride at Community Academy. When Press Pass TV asked some students about potential options if the school ever closed down, they said their only other feasible next choice is the corner, the streets. Their stories are deep—much deeper than any dropout or graduation statistics reveal—and should be recognized whenever BPS breaks out the hatchet to determine which items to cut. So in addition to bringing in Boston hip-hop stalwart Letia Larok to guide students through a musical experience in which they shared their sentiments through rhymes, we teamed up with Press Pass to ask members of the Community Academy family to also capture their thoughts in interviews. These are their stories.

“The time I had with these young men really gave me insight on how real the day to day struggles are for these youths out here,” Larok says. “Departing from them for summer break was especially hard knowing how crazy these streets are once the weather gets warm. I find myself lifting them up in prayer daily.”

COMMON GROUND continued on pg. 6

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COMMON GROUND continued from pg. 4

JAHNI (17) Junior from Dorchester

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I started at Match [Charter Public School], then I went to Edward M. Kennedy, then the school I’m at now. When I was at Match and Kennedy, they were good schools, but I felt they were a little too big. Here I have the smaller class, I just do my work.

I like classes like Spanish and English and math and sometimes history.

It’s not as many kids here. It’s not as much drama—it’s focused on graduating from high school. You can figure out different plans to graduate earlier, to graduate on time. Dudes just having drama for no reason—you don’t like someone because you have beef. It’s not enough people for you to have beef— there’s only a couple of heads here. We click, it’s simple.

At a big school you get more into popularity and stuff like that. Here you just come to do what you need to. I see it as a good place to graduate. This wasn’t the last chance for me—it was just something I was going to see if I could do and if it was a good fit for me. And I stayed, so it ended up working for me.

I met a couple people who I wouldn’t probably connect with in another school.

They bring a lot of creative programs. A lot of teachers here also help with jobs and resumes. I’m working with the [Boston Private Industry Council and Department of Youth Services], probably at a community center. I had a job for last summer too.

Even at small schools like this, it’s always good to lay low and remain yourself.

AJ (16) Junior from Wainwright Park I started off in Charlestown High. I went there for a little while. They kicked me out for regular gang activity though—they didn’t want me to go inside because there was a mix of people. Then I went to Southie, then I got moved to Brighton. Then I got kicked out of there. I was buggin’. I didn’t really care too much about stuff.

Last year I came here. All I was thinking was, “I’m about to fuck somebody up.”

I have a lot of beef with people, so I was just thinking there were probably going to be a lot of people who I didn’t like. Shit happens, but it turns out that it’s cool people here, there was nothing really serious.

I asked everybody in the school where they from—gotta get that out of the way first. We had a roll call inside of the cafeteria, and just asked everyone. I made sure I ain’t have no beef with nobody, and from right there on it was just cool with everybody. There aren’t really any problems, nothing.

It’s more comfortable, it’s more trusting. I can look over here and know what he’s about. I’m with him. I know certain people. But when it’s too much, it’s like you can’t be with everybody. Certain people are cool with other people, and certain people will have beef with your friends, and you just never know what can happen.

I play people here from a distance. We can be friends inside of school, it’s a mutual thing. Once we get outside of school, with the exception of few, there’s very few words.

It feels good now because I know what more people are about. I’m trying to find out what the big group is about, and I take the time to talk to each individual one of my peers to see where their heads are at. It feels good to know that and to know we’re on common ground.

One of my brothers was killed back in January. I know what I’m around every day, so why not share it with people? I tried to keep it to a minimum, where it’s not too explicit where it can get my friends indicted or something, just to a certain extent I can try to share what I can. I freestyle, I write, I do it all. I’ve been into rapping—all of the other stuff came with it. It’s not a fluke or a false advertisement—you can ask people, they’re going to tell you that it’s not a joke.

Open your eyes up. Real can relate. You’re going to relate if you’ve been through it. But if you haven’t, like a political person, I don’t think they’ll really get too much of where I’m coming from because they’re so into politics. We’re living inside of a box, and we haven’t gotten outside of that box yet to see the COMMON GROUND continued on pg. 8

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COMMON GROUND continued from pg. 6 bigger world. Other people have seen the other side, but I haven’t seen it, so I talk about what I see every day when I wake up.

Summertime is hard for a lot of people. I always say that. You gotta be on point. Overall, life is hard, but in the summertime people grow extra balls and try to do stuff.

That’s why I just want to make sure all my peoples are safe and just doing they own thing. I don’t need nobody trying to be something they not.

LUIGI (16) Sophomore from Hyde Park-Mattapan I came in March. Before that I was at Brighton High, and before that the Rogers [Middle School]. I got kicked out of Brighton because of court stuff, and at the Rogers I didn’t really get kicked out—it was just a school issue. I would have stayed, it wasn’t bad. I have to go to school. You tell me I have to go to this school, and I’ll go.

At first I didn’t want to come here. I was just trying to switch around, because I was just starting to do good and then—boom—I had to switch schools. So it was kind of heartbreaking. I kind of felt like I was thrown to the curb. It wasn’t a bad enough situation that I had to be transferred to here.

It’s a tough crowd, but so long as you don’t stand out you’ll be fine. I actually thought nobody here got along, until I came and noticed that they’re all friends.

Most of the kids that are here are from different sets and hoods and stuff, so I thought it was like a school where people were fighting all the time because they were from different sets and didn’t like each other.

Things are pretty tight here. You get more attention, and they push you to learn. They push you to do everything as a matter of fact. They help you not just in school but outside of school, so that kind of motivates.

It’s creative—we have hip-hop classes, we have mentors, we have people to sit down and talk to about things happening outside of school. It’s not like one of those schools where they just seat you and what happens outside of school is your problem. Here people are more involved in your life. They care more.

8

NAQUAN (16) Sophomore from Dorchester I’ve had some good experiences and some bad experiences [in BPS].

I came here in February, and was at English before that … I might be going back next year. I chose to come here because they said I could be graduating by next year. They said it was a small environment and that it’s better for graduating sooner.

It’s just like a smaller English, but there’s more freedom here. I knew most of [the students at Community Academy] before I came here. They’re all friends here. My friends at home don’t believe me—they keep asking me, “How is that possible? How is that possible?” They think I’m lying, but I don’t.

Personally I don’t have no tension with different neighborhoods. I’m friends with whoever I want to be friends with. It’s not my smoke because I’m cool with you, and you have smoke with them—that has nothing to do with me.

that—because they have more pressing issues, whether it’s wondering about where they’re going to stay, being safe, things like that. It’s creating the dialogue.

To be honest, I’m surprised by how many kids we have out here floating around during the last week when a lot of them don’t even need to be here. Some of them aren’t even passing their classes, but it’s something about the relationships they have with people in the building which brings them back when they don’t necessarily even have to be here.

The school has a lot of potential. One disappointment I had is that while we are an alternative high school, many of our practices hit that traditional one-size-fitsall kind of teaching. And that also means some of our students weren’t as successful as they should be. So for next year there have been discussions about some of us working and redesigning our curriculum so it’s more project-based. I also would like to make more connections to community partnerships … A lot of our students have great entrepreneurial skills—it’s just about being able to use that in a productive way.

JAMAL RAHMAN Community Field Coordinator

KATINA MCCLAIN Spanish Teacher

REESE (16) Junior from Dorchester

I am the Community Field Coordinator. The role kind of changes depending on what school you’re at—here I’m on the discipline side of things, but I’d say I’m the dean of culture. That’s what the last principal, Mr. Miller, named it.

I also check in all the kids in the morning, so I have to do the pat-downs, and the wands. And then the attendance.

When I tell people it’s an alternative school, the first thing they say is, “Oh, you got the bad kids.” I wouldn’t say it’s the bad kids so much as that we’re dealing with maybe the most challenging population. I work pretty close with Mr. Campbell, the dean of discipline, and with the headmaster, and I’m kind of like the first line of defense. When the kids are not able to handle themselves in the right manner in class, I’m the first person they call—I sit with the kids, I talk to them. I try to redirect them, get them back into class.

I’ve been here for four years. I was a science teacher at Middle School Academy. Then I left the system for about five years, and I came back four years ago. Middle School Academy is pretty much the middle school equivalent, so it’s the same population of students who have been expelled and that sort of thing. Mr. C, the math teacher, he and I went to college together, so he told me when the position came up that it would be perfect for me.

You learn the students, you learn what works with some and what doesn’t work, and you just do your best to identify strategies to help them. It’s a broad focus—we try to identify the students who aren’t coming and figure out ways to get them to come—we call houses, figure out ways to get them here. Then at the same time deal with ones who are coming but aren’t coming all the time. We try to do everything, but there’s only so much we can do.

This is my first year at Community Academy, but I’ve been teaching for 12 years. I’ve been in Boston Public Schools for four years—this is my fourth school, but I taught at Washington Irving Middle School last year; before that I was at Boston Latin Academy, and I started out at Excel High School in Southie. And I still coach for Boston Latin Academy. My title here is spanish teacher, and I’ve done a combination of teaching Spanish, ESL, performing arts, dance, and theater throughout Boston Public Schools.

Pretty much I was sought out by the headmaster who we had at the beginning of the year. I already had another job in the district, and originally I didn’t really know if I wanted to work in an alternative environment.

It’s been quite a unique experience for me—I’ve seen some wonderful and some not so wonderful things in my time in BPS, but I went back to school this year …

We have some students who come here by choice. Their parents like that there are very small classrooms, which is another reason I wanted to come here—I was tired of working with a ridiculous number of students and not feeling I had the support. That is a positive of this school, the low student-to-teacher ratio. And honestly there are some kids who made some choices and had some consequences which have brought them here—most of them not by choice. Some of them have had the option to go back to their regular public schools within the city, some made that choice to go back, and others have made the decision to stay, trying to finish up their secondary education.

I feel like my approach has always been the same—I’m very honest with these kids. We can be very honest.

Sometimes they feel like there’s not a connection between this school and what happens on the outside, and we talk about that, and I understand why they feel

Before this I was at Southie for the whole time, and I just wasn’t messing with it. I wasn’t trying to be over there. [Community Academy] is more focused, it’s more independent.

I figured I would come here, do my thing. I went through with it, started liking it. Just do your work, and you’re gonna be straight. You’re gonna be good. People don’t be liking school, but you can understand your work a lot easier because there’s less distraction.

Everybody here is going to see if there is a [learning difficulty]—because everybody sees each other throughout the periods. For the most part, you can go to any teacher and talk to them, and they’re cool. Or you could talk to the office and talk to them. You can talk to anybody if you have a problem and you need to talk about it. I like this school because at a regular school they can’t do that—they have to be worrying about every student.

We just stick together, that’s all we can do at the end of the day. Most of the people, I already knew them. Now we go to school together. Me personally—when I see dudes who I know from the streets and now we’re in school together, I want to see them do good with me because I know I’m going to do good regardless. I’m doing my stuff.

I’m working at a community center this summer, mentoring kids. Some kids I would tell them to come to this school, but it’s not for everyone. This is my school; it’s the end of the school year, and I was just thinking about that all today. Like one of the guidance counselors said on the first day—there’s going to be a lot of people who don’t end the school year with you. End of the school year, and I’ve seen people leave and never come back. It don’t even be the weather problems—it’s just they’re never coming back to school.

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WHAT THE FOIA?!

BROKEN RECORDS

Who do you call when the cops rip you off?

BY ANDREW QUEMERE AND MAYA SHAFFER “It is shameful that this is happening in such a progressive state like Massachusetts, which is supposed to value transparency and freedom of information. I believe that nothing short of the threat of legal charges will convince the media relations department of the Boston police to do their jobs. Please do your part to make this happen.”

So wrote Evan Anderson, a contributor to the Bostonbased news site MuckRock (as well as to DigBoston and the Boston Institute for Nonprofit Journalism), in a note to Secretary of the Commonwealth William Galvin’s office asking for help bringing criminal charges against members of the Boston Police Department.

The reason: They robbed him.

State law is supposed to guarantee the public access to government records within 10 days of receiving a request. But when we spoke with Anderson in March, it had been more than a year since he cut the BPD a $402.50 check for 700 pages worth of department email correspondence with the National Security Agency—and despite sending more than two dozen follow-up emails and making numerous phone calls, he still didn’t have any records to show for it.

On March 25, Rachel McGuire, an officer with the BPD media relations office, reached out to Anderson. She explained that the department would now only provide 41 pages worth of emails. “I was told that 500 pages aren’t what I requested, and that 149 or so are exempt because of investigatory reasons,” Anderson explained to us.

McGuire offered to reimburse some of Anderson’s money, since regulations that had recently been adopted by the secretary of the Commonwealth’s office now only allow agencies to charge five cents per page for copying or printing records. However, McGuire claimed that providing Anderson with the 41 pages would still take the same 17-and-a-half hours of labor as was originally projected to process 700 pages, so the department needed to keep $262.50 of his money. In case you aren’t counting, that’s roughly 43 minutes of labor per page at a cost of about $6.40.

Anderson had a different idea: The department should simply provide him with the 41 pages, along with the 500 pages that were deemed not relevant to his request since he had already paid for them. “This way, there is no need to refund the money as it can be put toward the cost of reviewing the remaining pages,” he explained in an email to McGuire. Anderson suspected that the 500 pages may include emails about the NSA, so he was still curious to see what was in them.

“Please, send us your phone number so that we may make some clarifications on your new request,” McGuire wrote back more than a week later. Anderson provided his number that day, but says he never received a call or any records—not even the 41 pages she promised. Anderson sent several subsequent emails and left several voice mail messages, but McGuire, who made $133,258.88 last year, just ignored him.

Anderson was finally able to reach McGuire on May 11, but says she wasn’t particularly helpful. Instead of asking for clarification, he says she only told him the legal department was working on his request and that she would check with them. It’s unclear how the department was working on the request without any details; needless to say, no one from BPD has reached out to Anderson since.

On May 24, Anderson sent an appeal to the secretary of the Commonwealth’s office, asking for help getting the media relations staff prosecuted. In theory, that’s a real possibility; under state law, anyone who violates the public records law can be punished with hundreds of dollars in fines and up to a year in jail.

10

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But realistically, it’s not going to happen. It’s been more than a month and Galvin’s office hasn’t listed Anderson’s appeal on its list of open appeals. Even if they do acknowledge his grievance, Galvin’s office does not actually have the power to prosecute public officials who violate the law. It can only refer violations of the law to the attorney general or a district attorney, and it rarely does so. Galvin’s office has only escalated one violation of the law to the AGO in the past several years, and it didn’t result in a prosecution. Last year, a spokesperson for the AGO told the Boston Globe they weren’t aware of a single instance in which the agency has prosecuted a violation of the public records law.

That’s a shame, because Anderson’s experience is not an isolated incident. Jonathan Cohn, a member of the anti-Olympics group No Boston 2024, has also been robbed by BPD. After reading about how police monitored anti-Olympic activists in Chicago, Cohn filed a request last August 26 to see if Boston police did likewise.

At first, BPD simply ignored Cohn’s request, along with several follow-up emails. Cohn sent an appeal to Galvin’s office on November 21, and on January 4, the secretary ordered BPD to comply with Cohn’s request within 10 days. But that didn’t happen. Lieutenant Michael McCarthy, the head of BPD’s media relations department, did not provide Cohn a response until January 28.

McCarthy also asked for an obscene amount of money: nearly $170,000.

The enormous fee appears to be the result of a misunderstanding by McCarthy. One of the items Cohn asked for was, “Any records, electronic or written, from June 13, 2015, referencing the Boston Pride parade AND the terms ‘Boston 2024’ and/or ‘Olympic(s).’” McCarthy claimed BPD has an astonishing 145,560 responsive emails, but Cohn suspects McCarthy treated his “AND” as an “OR,” and that the department may not have limited his query to the specific day Cohn asked about.

Cohn asked McCarthy to provide a new fee estimate, but says the lieutenant insisted there really were that many

records because of multiple people being copied on the same emails. We did the math: Even if the entire Boston police staff of about 2,700 (that includes civilians) was copied on each email, there would still have to be more than 50 unique responsive emails all sent in one day for McCarthy’s estimate to be accurate.

Meanwhile, Cohn sent BPD a check for $51.95 on March 11 for some of the other Olympics-related records he had requested, namely emails with the FBI, Department of Homeland Security, and other federal agencies, as well as emails sent by a specific BPD detective. McCarthy, who took home $202,231.92 in pay last year, did not confirm that BPD had received Cohn’s check until April 5, nearly a month later. Since then, another two-and-a-half months have passed, and Cohn still doesn’t have his records.

Cohn has tried calling the media relations department a number of times, but he hasn’t been able to get any answers. “Whenever I’ve called, I’m just told, ‘Oh, it’ll be a couple weeks. We don’t have an exact date.’ Or, ‘It’ll be by the end of this week,’” he says. “Last time, I was told that it’s not even in their department.”

Earlier this month, Cohn contacted Galvin’s office again to ask for help. Instead of doing anything to help Cohn get his records, on June 22 the secretary closed Cohn’s appeal. Rather than advancing the issue to the AGO for enforcement, the state simply instructed McCarthy to provide the records. Since the appeal is closed, if the BPD opts not to provide the records, Cohn would have to open yet another useless appeal.

An update to the public records law is set to go into effect next year, but it does nothing to address this problem. The new law sets a longer timeline for agencies to provide records, and that timeline’s enforcement will still be left to Galvin and Healey, who don’t enforce the current timeline. Entrusting the people who refuse to uphold the current law with enforcing the new one makes as much sense as expecting the Boston police to provide the records you’ve paid them for.

Broken Records is a biweekly column produced in partnership between the Boston Institute for Nonprofit Journalism, DigBoston, and the Bay State Examiner.

Follow BINJ on Twitter @BINJreports for upcoming installments of Maya and Andrew’s ongoing reporting on public information.

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“What do you do when you think your entire life has been ruined by the system?” a former fellow activist of Richard Picariello, Joseph Aceto, Everett Carlson and Edward Gullion Jr. asked.

“Some people try to change the system, but some people can only think of revenge,” he said.

BOSTON’S BICENTENNIAL BOMBING SPREE THROWBACK

The 40th anniversary of hideous events that are nonetheless worth remembering

BY SEAN L. MALONEY @SEANLMALONEY One of the best things about Boston is that there is history everywhere and that it’s all interconnected.

Under every cobblestone, around the corner of every cow path, the old stories are often wilder and weirder than you would expect from a sleepy provincial town.

While researching my upcoming book 33 1/3: The Modern Lovers—about Boston proto-punk pioneers The Modern Lovers’ debut album, Interstate development, and urban renewal in the late ‘60s and early ‘70s Massachusetts—I unearthed so much of this wild, weird history that a lot of it had to be left on the cutting room floor. Luckily, my friends at the Boston Institute for Nonprofit Journalism won’t let so much nerdy fun languish on my hard drive.

It hurt to cut the gangster who got his head crushed with a cinder block at Revere Beach from my manuscript.

Editing out the dead body they found on Inner Belt Road pained my pulp noir-loving soul. I grew up on Spenser for Hire novels, The Friends of Eddie Coyle, and The Thomas Crown Affair, a classical crime education in the old Boston style, and telling these tales had been a lifelong goal. But I’m a music writer by trade and the assignment was to write about the best rock n roll record to ever come out of this town. So I wrote about the music and cut out some of the more salacious true-crime-style context, including the string of bombings that took place up and down the coast of New England in 1976.

While the Wahlberged version of history would have you believe that there has only ever been one bomb in Boston that and Mahky Mahk defused it with his baregoddamn-hands to save America from Tha Terrahists, truth is the tragedy of 2013 is only the latest in a line of angry locals blowing shit up. The Harvard Center for International Affairs in Cambridge was attacked in 1970, Tufts University in 1971. Cambridge police headquarters was bombed in December of 1972, when a group named Comrades in Arms declared, in a letter to progressive rock radio station WBCN, the “people’s winter offensive against the Nixon-Hoover-Mitchell junta.” The same group would claim another explosion in Wellesley weeks later. There was even a detonation at the State House in 1975, orchestrated by the group that would become activist-famous as the Ohio 7.

By the summer of 1976, the same summer that saw the city’s punk scene coalescing at The Rat and Quincy Market opening its newly renovated doors to the world, bombings were a fairly regular occurrence. Suffolk County Courthouse was bombed that April, leading to increased security across Government Center and 12

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a heightened tension among the people charged with organizing Boston 200, the years-in-the-making citywide celebration of America’s bicentennial. The city had been trying to shake its dirty, dangerous reputation, and the Bicentennial was Boston’s time to shine. So the unfolding scene, as painted here in a July 4, 1976 Boston Globe article titled, “Boston area bombings, threats will continue, FBI says,” was increasingly worrisome: “Whatever your theory for the bombing, they will continue,” Richard F Bates, special agent in charge of the Federal Bureau of Investigation, said.

Three Explosions within three hours Friday damaged three transport trucks at the National Guard armory on Victory Road, Dorchester; destroyed and empty Eastern Airlines Electra prop-jet parked over night at the Southwest Terminal at Logan Airport and blew out a portion of a brick wall of the Essex County Superior Courthouse in Newburyport.

Within 19 hours of the Newburyport explosion, a bomb explosion damaged a post office building in Seabrook, N.H., Seven Miles Away.

Although authorities say they do not know what group or groups may be responsible, three callers have claimed responsibility for different blast.

By the middle of that July, the Feds indicted and arrested about half of their suspects. Letters had been sent to the the underground press, likely the pioneering alt-weekly Maine Times and Central Square’s radical political paper The Old Mole, claiming the attack in the name of the Fred Hampton Unit of the People’s Forces. The Fred Hampton Unit were “dedicated to fight imperialism/capitalism, racism, sexism and the fascist judicial/prison system,” the Globe reported the letters saying.

That led to three ex-cons and a mysterious stranger.

Richard “Dicky” Picariello, 27, the mastermind, a rich kid turned stickup kid from Middleton, Mass, who was well read in revolutionary literature. Joseph “Joey” Aceto, 23, the “funny man.” Everett “Picky” Carlson, 38, who was trained to use dynamite in the quarries out West and had been convicted of rape in both 1960 and 1972. And Edward Gullion, Jr., an outsider from Dorchester “sympathetic to underground movements.” According to a Globe report from July 18, 1976:

Picariello, Aceto, and Carlson had done time together at Thomaston State Prison in Maine, becoming associated with and eventually splintering from the Statewide Corrections Alliance for Reform. Despite an acronym right out of a b-grade spy movie, S.C.A.R had been a positive force in the post-Attica world. For four years, a mix of prisoners and civilians fought for reform and basic freedoms within a very brutal and unforgiving system— think Shawshank Redemption as directed by Eli Roth.

Unsurprisingly, they met resistance from the status quo.

Picariello, doing time for attempted bank robbery, would be continually beaten by guards and locked in solitary confinement. According to the Globe: By the time Picariello was paroled on Oct. 21, 1975 “his life was dedicated to revolution,” a radical friend said.

“Too militant for SCAR,” he broke with the organization a few months before his release, and went to Boston after his release to meet more militants, SCAR leaders said.

Friends insist that Picariello would never “premeditatively hurt anyone. He might take a risk, but he would never do something like put a bomb in a movie theater.”

Weeks after the bombings, police found 611 pounds of dynamite in 900 sticks hidden in steel drums in a wooded section of Boxford. It was determined the dynamite was stolen, but police had a hard time connecting the bombings happening throughout the state to one group.

The whole operation came crashing down in Topsfield, when Aceto was arrested after a blown sting operation and an ensuing car chase. Aceto was found with 22 sticks of dynamite in his totaled car, while Picariello escaped, setting off a three month manhunt and landing him on the FBI’s Most Wanted List. Other bombings that would be tied to the group: Maine Central Power. Middlesex County Superior Court. Newburyport Superior Courthouse. Plans for attacks on the A&P Supermarket regional offices and Polaroid Corporation headquarters in Cambridge.

After Picariello’s arrest in Fall River and Gullion’s arrest in Providence in the fall of 1976, the group was tried and convicted. Picariello serve his time at both MCI-Cedar Junction in Walpole and at a supermax prison in Maine, and after his release continued to work with anti-war efforts, even drawing the attention of the NYPD during the 2004 Republican National Convention. Aceto turned state’s witness, providing details of the bombings and the bank robberies, allegedly relaying information about former S.C.A.R. associates and leaders of the Ohio 7. Aceto died in a Montana prison after being convicted for a 2000 shooting and kidnapping which happened after he was released for murdering a fellow prisoner while serving time for burglary and robbery.

In 1997, Everett Carlson returned to prison, this time for kidnapping and assaulting a woman. In 2015, at the age of 77, he was indicted for opioid possession.

What happened to Edward Gullion, Jr., the outsider from Dorchester, after his prison sentence is unclear.

This throwback was produced in collaboration with the Boston Institute for Nonprofit Journalism. For posts connecting old headlines with contemporary news stories, check out medium.com/binj-reports/tagged/ throwbacks.

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EATS

WINTHROP ARMS

A Hidden Off-the-Menu Mac and Cheese

BY MARC HURWITZ @HIDDENBOSTON

ONCE Lounge & Ballroom 156 Highland Ave. ONCEsomerville.com

7/12 Sonny & The Sunsets w/ Fred Thomas and Junior Classics | $12 adv / $15 dos | Doors @ 8pm |

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Let’s talk macaroni and cheese for a moment. While the Greater Boston area isn’t exactly the best place in the world for it (and it isn’t a regional food like bar pizza or roast beef sandwiches), it isn’t exactly the worst, either. With places like Harvard Gardens in Beacon Hill, Silvertone in Downtown Crossing, Ashmont Grill in Dorchester, and the Publick House in Brookline, there are definitely places to find excellent versions of this classic comfort food dish. But one of the best places for it is a dining spot in Winthrop that is as about hidden as they come—and ironically, the restaurant doesn’t even have it on the menu. Never heard of the Winthrop Arms before? Well, you’re definitely not the only one.

The town of Winthrop itself is a bit on the hidden side; even though it borders Boston (East Boston, to be exact), it sits on a peninsula mostly away from public transportation and it has no malls, huge office complexes, busy highways, or anything else that might attract crowds of people. And within the community is a smaller peninsula that sticks out from the main peninsula where quiet residential streets and jaw-dropping ocean views can be found—and right in the middle of it all is the Winthrop Arms, a hotel and restaurant that dates back to World War I. The interior of the place is gorgeous in an old-world kind of way, with a lobby full of mahogany and a sprawling, comfortable dining area that oozes charm and elegance without being stuffy. A relatively new addition to the space is a long outdoor porch that overlooks the street and is a great spot to be on a warm summer night.

The restaurant at the Winthrop Arms focuses mainly on classic American fare and Italian-American dishes, including good takes on bacon-wrapped scallops, a Caesar salad, chicken cordon bleu, crab cakes, veal and chicken parmigiana, baked stuffed scrod, shrimp scampi, chopped sirloin with mushroom gravy, and pork chops, along with a fair selection of beers and wines. But it is the macaroni and cheese that is king to many here, and for some strange reason, it isn’t on the menu, so you need to ask for it. For those in the know, the mac and cheese at the Arms is something special, with cavatappi (a kind of corkscrew pasta) used rather than the more common elbow macaroni. It’s mixed with several types of cheese and a good amount of cream, then baked until the top is browned. To some, this is the best macaroni and cheese in the entire Boston area, and also one of the cheapest (and perhaps the only off-menu version around).

The Winthrop Arms restaurant remains well under the radar after all these years, in part because it’s in a residential neighborhood whose roads don’t really go anywhere, and also because it is located in a town that generally isn’t considered a dining destination (which is too bad, because the community has a number of impressive restaurants). If you’re jonesing for mac and cheese and have a car—and a decent map app or GPS—head to this charming seaside spot for a true sense of discovery within the local restaurant scene. >> WINTHROP ARMS. 130 GROVERS AVE., WINTHROP. WINTHROPARMS.COM

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ARTS ENTERTAINMENT

THU 7.7

FRI 7.8

SAT 7.9

SUN 7.10

MON 7.11

TUE 7.12

Germany v France @ Olde Magoun’s Saloon

Happy Gilmore @ The Lawn on D

Zella Day @ The Sinclair

Namaste Yoga @ The ICA

Grand Opening @ Dig Inn

Cuisine & Confessions @ ArtsEmerson

If you haven’t dragged your ass to a Lawn on D event, you’ve heard about it and felt like a loser for never going. Stop being a chooch and go. Downeast Cider presents Happy Gilmore on the big screen this Friday, and we couldn’t be chubbier. Complete with hockey sticks and golf clubs, the festivities promise to be a little silly and downright drunk. Or shall we say, Downeast drunk?

The Law n on D. 420 D St., Boston.

6pm/all ages/FREE. twitter. com/lawnond

We need to be honest: We don’t know much about Zella Day beyond what we’ve read. That said, the Sinclair usually does a pretty solid job of turning us on to music we would otherwise never consider—or would miss out on whilst we drink our lives away. Thank you, Sinclair. Thank you very much! What we do know is that she’s on a headlining North American tour, made huge impressions at Coachella (to some, at least; “hypnotic” was the word), and is opening up for Fitz and the Tantrums and Michael Franti—and that you should check her out.

Yoga! Yoga! Yoga! Join the folks at the ICA and PopUpAsana for a Sunday morning health kick all summer long. Starting at 9 am, this outdoor morning glory lovefest is perfect for beginners and experts, and open to all. You need to bring a mat, but the extra money you throw down for that will pay for itself in spades once your abs are ripped and your soul is cleansed. We love yoga at the Dig and encourage every drunk in town to take it up. This is a great time to not let us down.

The Euro 2016 has been a footy up the arse of any soccer fan, especially the English, Spanish and Belgian, never mind the Dutch fan; those fuckers didn’t even make it! It’s also been a ride for the underdog with Iceland pushing through to the round of eight and the Welsh team making the final four. It doesn’t matter, though; the Germans will beat France, and they will beat whoever they play in the final. Drink the finest German lagers around and watch them get there.

Olde Magoun’s Saloon. 518 Medford St., Somerville.

3pm/all ages/FREE. magounssaloon.com

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The Sinclair. 52 Church St., Cambridge.

7:30pm/21+/$16. sinclaircambridge.com

ICA Boston. 100 Northern Ave., Boston. 9am/all ages/$20. icaboston.org

Do we even need to tell you why this opening first caught our eye when we saw that the Manhattan staple was opening a Boston location, the first outside of its New York backyard? Aside from the amazingly cool name, this foodie joint that seeks to “democratize good” food should be a fresh face on the dining scene. With a full menu from breakfast through dinner and a commitment to locally sourced farms, we welcome the new Digster with open arms. So should you.

Dig Inn. 557 Boylston St., Boston. 7am/all ages/FREE. diginn.com

You may have noticed that ArtsEmerson has stepped up its game in a big way over the last few years, bringing in more and more worldrenowned productions and expanding its artsy footprint. Not that it wasn’t huge before, but you get the idea. With Cuisine and Confessions, the 7 Fingers from Montreal is making its American debut and the fourth in partnership with ArtsEmerson. Be prepared to feast your way through an exhibition of avante garde dance and a connective narrative with the audience.

Cutler Majestic Theatre.

219 Tremont St., Boston.

7:30pm/all ages/$25+. artsemerson.org

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MUSIC

VULNERABILITY IN TRANSITION

Folk punk duo Girlpool preps for round two

MUSIC

LET’S DO THE VANS WARPED TOUR AGAIN 21 years and still going strong

Nostalgia is a funny thing. Some people consider it a dirty word. Others unashamedly embrace it and simply revel in their past, perhaps in hopes of reliving a moment from their formative years.

For Vans Warped Tour, this year’s edition is a throwback to the festival’s glory days with a roster that includes Yellowcard, Sum 41, New Found Glory, the Story So Far, the Maine, and Mayday Parade, to name a few.

“It’s great to go back to Warped to reconnect,” tour founder Kevin Lyman told the Dig. “This year, a lot of those [veteran] bands were available and wanted to do it. It kind of got on a roll where we got a couple, and these other bands wanted to be out there with their friends.”

In its 21st year, Warped is the nation’s longest-running traveling festival, bringing 12 hours of nonstop music on like a billion stages to outdoor venues across America every summer. Throughout its history, the tour has been bold, eclectic, inclusive, and unafraid to take chances. It has become a community unto itself and is a place where bands look out for each other and pass along valuable lessons to the next breed of road warriors.

“Last year, I had a very young lineup,” Lyman says. “It was fine, but I need some of these older bands to be out there as mentors to these younger bands. I’m really excited to have some friends out there this summer.”

Also among the tour’s elder statesmen this summer is Worcester’s own Four Year Strong, which is making its fifth run on Warped.

“I like it for a lot of reasons,” Four Year Strong’s Alan Day says. “The shows are always great. It’s like summer camp.

You get to see your friends every year. The kids are always super excited to see all their favorite bands all at once.

Sometimes it’s hot and you get tired, but we’re super stoked.”

Day also notes that Lyman and his Warped curators “adapt to the times.” Over the years, they’ve mixed in everything from death metal to pop (Katy Perry and the Black Eyed Peas famously played the tour) to backpack rap to stoner reggae (Pepper returns this year) to electro DJs. In addition to the roster of vintage pop punk bands, this year’s edition also includes glam rockers Falling In Reverse, Hollywood electro band Ghost Town, ska heroes Less Than Jake and Reel Big Fish, and current emo stars Sleeping With Sirens and Knucklepuck. For the headbangers, there’s Motionless in White, Chelsea Grin, Buffalo stalwarts Every Time I Die, Boston’s Vanna, Veil of Maya, Whitechapel, and I See Stars.

For Day, Warped was essential to exposing the band to massive crowds during the group’s early years. It’s working on new material and will be playing some new songs in Mansfield.

“It’s always the best show of the summer for us,” he said. “We’ve been very fortunate to have a very loyal hometown fan base. We’re definitely lucky.”

There’s always a charitable component to the tour too. Last year, it was a food drive. This year, it’s Voices of the Innocent, a sexual assault awareness campaign. And 25 cents from every ticket sold goes to charity, which has added up as Warped is set to sell its 10 millionth ticket this summer.

“I look at Warped Tour as it has three things: bring good music, do good things for the community, and we want to educate people on being good citizens and how to go to a festival and enjoy yourself and just have a good day,” Lyman said. “It looks like it’s going to be a good summer.”

MUSIC EVENTS THU 7.7

HEAR PAID IN FULL IN FULL RAKIM

[Middle East Downstairs, 472 Mass. Ave., Cambridge. 8pm/18+/$23. mideastoffers.com]

18

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FRI 7.8

VINYL LP + EP 7” RELEASE PARTY HALLELUJAH THE HILLS + THE BARBAZONS + THALIA ZEDEK BAND + BLACK BEACH

[The Sinclair, 52 Church St., Cambridge. 8pm/18+/$12. sinclaircambridge.com]

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MON 7.11

MON 7.11

[Paradise Rock Club, 967 Comm. Ave., Boston. 7pm/18+/$35. crossroadspresents.com]

[Great Scott, 1222 Comm.

Ave., Allston. 9pm/18+/$12. greatscottboston.com]

ALIEN LANES AND INDIE ROCK ORIGINS GUIDED BY VOICES + NAP EYES

GET YOUR GROOVE ON JESSY LANZA + DJ TAYE

PHOTO BY MATTHEW VINCENT

BY DAVE WEDGE @DAVEWEDGE

Last year may have been a whirlwind of stress and press for Los Angeles duo Girlpool, but this year is all about readjusting to daily life—and making sure to jot down all the inspiration that comes with it.

“I’m shopping for pants right now! You know what I realized? I want to take all my pants to the tailor,” bassist Harmony Tividad says over the phone, laughing. “I think the tailor will be my best friend once I explore that option.”

It feels fitting that Tividad is busy digging through Philadelphia racks while guitarist Cleo Tucker is sitting quietly in New York—and yet the two sound as if they’re side by side, speaking into the same end of the phone, failing to hold back laughter about the experience.

“So far this year has been about honing in on working on stuff and being one with the self,” Tividad continues. “Spotlights aren’t usually on our radars, but last year was definitely intense.”

It’s true; 2015 saw the music world fall in love with Before the World Was Big, the folk punk band’s debut fulllength. The songs stand somewhere between the acoustic clarity of Frankie Cosmos and the sexual honesty of early Liz Phair, but with more confidence.

“When you’re writing songs, that honesty has to be malleable. Harmony and I have talked about how amazing that is that these songs can be a million things. Just as Harmony and I have grown with our own selves, so does our relationship to the work we make. It’s like every Monday doesn’t feel like a Monday,” says Tucker. “The context constantly evolves,” Tividad adds.

“I feel like it’s all about internal gratification,” Tividad continues, not missing a beat. “It’s hard to have an expectation for yourself [on a followup record] apart from the emotional catharsis.

Everything we want to try out, we’re trying out.”

With a break from constant press and opportunities to work through recent material, Girlpool is prepped for arguably a better year than last—and 2015 was very, very good to it.

“I did it,” Tividad says. “I found the perfect pair of pants!”

And so 2016 continues to get better. >> GIRLPOOL, FRENCH VANILLA, HORSE JUMPER OF LOVE, LADY PILLS. MON 7.11. MIDDLE EAST DOWNSTAIRS, 472 MASS. AVE., CAMBRIDGE. 7PM/ALL AGES/$15.

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TUE 7.12

WED 7.13

[Brighton Music Hall, 158 Brighton Ave., Allston. 7pm/18+/$12. crossroadspresents.com]

[Great Scott, 1222 Comm.

Ave., Allston. 9pm/18+/$12. greatscottboston.com]

REACH FOR THE REGGAE RAGING FYAH

SUB POP ALT PUNK THE GOTOBEDS + HALFSOUR + BEEEF

PHOTO BY ALLYSSA YOHANA

BY NINA CORCORAN @NINA_CORCORAN

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ARTS + ENTERTAINMENT

19

FILM

TOUGH GAMES

Competing with the cinema of Robert Aldrich

BY JAKE MULLIGAN @_JAKEMULLIGAN The Harvard Film Archive has dedicated much of its summer schedule to a retrospective of films by the Hollywood director Robert Aldrich [1918-1983]. This weekend will see seven different screening programs, including television episodes, an unreleased short, a feature film that Aldrich did uncredited work on, and five other features that he directed outright.

The program continues until Aug 18. neither willing to accept anything like a split decision. The action is competitive. And the framing is combative.

This 5pm program will also include The Greatest Mother of ’Em All [1969/35mm], a rarely screened short directed

by Aldrich.

AUTUMN LEAVES [1956]

FOUR STAR PLAYHOUSE: “THE GIFT” AND “THE BAD STREAK” [1954]

Screens Sun 7.10. 5pm. 16mm.

Aldrich’s time in the Hollywood system was preceded by a stint working for the small screen. These two episodes of Playhouse—which were aired after Big Leaguer, his first studio movie, had already been released—are a capstone on that section of his career. Both feature actor Charles Boyer as a bad dad with a good heart: In “The Gift,” he’s a lawyer who’s been turned eternally sour by the free-spirited proclivities of his faraway son (the little jerk became a geologist instead of a partner in the firm); in “The Bad Streak,” he’s a casino manager who gets confronted and challenged by a son he’d never met (they play high-stakes blackjack in the back rooms with the family savings on the line). The characters resolve their respective parental complexes with theatrical aplomb, so that each episode can wrap itself up cleanly within a 25-minute runtime. They’re saccharine to the point of being soft, and that’s hardly indicative of the Aldrich worldview, which never stopped being hard.

The societies he created in the films we remember him for—Kiss Me Deadly, The Dirty Dozen, The Longest Yard—are governed by a specifically American sense of every-man-for-himself. You can see the Aldrich signature in these Playhouse episodes, but you’ve got to look to find them. It’s the visual trademarks—ones he’d carry for the rest of his career—that are already developed and accounted for. He’s already using long takes that allow his actors to settle into statuesque positions, which makes

their ensuing expressions and gestures all the more emphatic. He’s already using railings, doorways, and other foregrounded objects to create highly constricting frames within frames. And he’s already employing his signature composition—where he places the profile of one actor against a front-facing view of another, like two close-ups crossing over within the same shot—at the moments where emotions are highest. His sensibility emerges most clearly when “The Bad Streak” sits down at the blackjack table. Father and son set themselves eye to eye on opposite sides, then work tirelessly to defeat one another,

Screens Sat 7.9. 7pm. 35mm.

Aldrich had already entered the arena of Hollywood melodramas with 1955’s The Big Knife [screens on 8.13], but Autumn Leaves represents his entry into a more specific form: the mid-century “woman’s picture,” where affairs were stripped bare, heated up, and boiled over. A permanently lonesome stenographer (Joan Crawford) has a heavy fling with a younger partner (Cliff Robertson), then realizes he’s a serial liar who’s already been driven mad by a different May-December partnership—he once caught his ex-wife (Vera Miles) sleeping with his father (Lorne Greene), and he cries like a baby whenever he remembers it. Crawford’s role shifts from wife to mother.

The once-lonesome woman begins to yearn for solitude all over again. She wants to ditch the kid and revert to the self-centered independence that Aldrich protagonists are known for. But that’d leave her at the same empty home she started from. She’s competing with complexes.

Aldrich follows the subgenre’s rules more diligently than he would in his later years. He pulls the camera up to Crawford’s home front like a car, surveying the neighboring houses, plying the same “it could happen to

AUTUMN LEAVES

FILM EVENTS THU 7.7

THE BRATTLE BEGINS AN INDIANA JONES WEEKEND RAIDERS!

[Brattle Theatre. 40 Brattle St., Harvard Sq., Cambridge.

5:15 and 7:15pm/NR/$911. Screens through 7.11.

RAIDERS OF THE LOST ARK: THE ADAPTATION screens 7.9. THE INDIANA JONES TRILOGY screens in a triple feature 7.10. See brattlefilm. org for showtimes.]

20

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FRI 7.8

COOLIDGE AFTER MIDNIGHT CONTINUES THE ‘SUMMER OF PSYCHOSIS’ THE SHINING

[Coolidge Corner Theatre.

290 Harvard St., Brookline.

Midnight/R/$11.25. 35mm. coolidge.org]

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SAT 7.9

ANOTHER PSYCHOTIC MIDNIGHT MOVIE ANDRZEJ ZULAWSKI’S POSSESSION

[Coolidge Corner Theatre.

290 Harvard St., Brookline.

Midnight/R/$11.25. 35mm. coolidge.org]

SAT 7.9

DAVID FINCHER’S SEVEN

[Somerville Theatre. 55 Davis Sq., Somerville.

Midnight/R/$10. 35mm. somervilletheatre.com]

MON 7.11

‘FEMME FATALES’ AT THE BRATTLE JACQUES TOURNEUR’S OUT OF THE PAST

[Brattle Theatre. 40 Brattle St., Harvard Sq., Cambridge.

3:30 and 7:30pm/NR/$9-11.

35mm. Also screens 7.12 @ 5:30 and 9:30pm.]

MON 7.11

BIG SCREEN CLASSICS PRESENTS PULP FICTION

[Coolidge Corner Theatre.

290 Harvard St., Brookline.

7pm/R/$11.25. 35mm. coolidge.org]

TWILIGHT’S LAST GLEAMING you” visual symbols sold by the works of his peers. He indulges expressive touches that are atypical of his usually cold gaze. And he allows the film to interrupt itself regularly for then-fashionable psychobabble. His later melodramas—The Killing of Sister George screens on 7.16, What Ever Happened to Baby Jane? screens on 8.13, and Hush… Hush Sweet Charlotte screens on 8.14—reached higher temperatures.

They couldn’t happen to you. They could only happen to him. Autumn Leaves is cooler—it simmers down to room temperature. But even this early, Aldrich knew how to handle the ingredients he was graced with. His camera respects Crawford and Robertson, trusting each with extended close-ups. They get to illustrate their inner states—her conflicted affection, his wrongheaded mania—so the film doesn’t have to describe them aloud. Most directors are content to let their stories do the thinking. Aldrich is the rare commercial filmmaker who takes the next step.

He stares at the players beyond what the formula demands. What he’s creating is intimacy. He’s fascinated by conflict. But he’s equally fascinated by its effect on the human face.

TWILIGHT’S LAST GLEAMING [1977]

Screens on Mon 7.11. 7pm.

The characters in Twilight’s Last Gleaming are players of a different sort. They call themselves politicians. But put them next to the players of The Longest Yard and tell me if you can see a difference. Aldrich has organized a cabal of male leads from the Old Hollywood to staff this allegory, which dramatizes the lengths to which US officials might go to prevent an “open government.” A disgraced Air Force general (Burt Lancaster) has taken over a nuclear missile launch station, and he’s warned both the president (Charles Durning) and his advisors (Richard Widmark, Joseph Cotton, and Melvyn Douglas) that he’ll launch unless they publish classified documents that reveal ugly truths about the Vietnam War (the film is set in 1981).

It’s a drawn-out tension piece. Much of the action is centered around the cutting of cords, the transporting of dangerous liquids, and the stealth movements of various troops. There’s even an athleticism to the way these players are moving.

Entire sequences are built around a mutual need for steady hands. It’s political maneuvers made sport. Even the terminology comes from the sidelines. When things are looking good for the government, a general makes the observation: “We’re on the 50-yard line.”

Inside and outside of the split screens, some of Aldrich’s individual shots can look standard. But his eye isn’t simple so much as it’s unblinking. His body of work displays an obsession with high-stress professions, and it looks at them with a gaze that doesn’t dare to romanticize. He’s a curious contradiction, this filmmaker that looks at our worst selves without ever flinching. That cross-profile composition described earlier—which is used liberally in Last Gleaming—is most emblematic of his style. All we’re seeing is two faces, but irreparable conflict is usually bound up between them. When he gets even closer, you can see his actors wearing it. Within the American cinema, that qualifies as exceptional honesty. Aldrich, a former college football player, had a sensibility that morphed almost any genre into a game. But he never failed to see the injuries. ...ALL THE MARBLES: THE COMPLETE ROBERT ALDRICH CONTINUES AT THE HARVARD FILM ARCHIVE UNTIL 8.18. OTHER SCREENINGS THIS WEEKEND INCLUDE: >> TOO LATE THE HERO [1970]. FRI 7.8. 7PM. 35MM. NOT RATED. >> THE GARMENT JUNGLE [1957]. FRI 7.8. 9:30PM. 35MM. NOT RATED. >> ...ALL THE MARBLES [1981]. SAT 7.9. 9:15PM. 35MM. RATED R. >> THE GRISSOM GANG [1971]. SUN 7.10. 7PM. 35MM. RATED R.

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FEATURE

DEPT. OF COMMERCE

ARTS + ENTERTAINMENT

21

SAVAGE LOVE

PLAYING IT COOL

WHAT'S FOR BREAKFAST

BY PATT KELLEY WHATS4BREAKFAST.COM

BY DAN SAVAGE @FAKEDANSAVAGE | MAIL@SAVAGELOVE.NET I’m a cis woman in my late 20s. About three months ago, I had my first one-night stand. I’ve noticed my thoughts have continued to gravitate toward this man ever since—despite having other sexual partners in the interim. I recently ran across his profile on Tinder—however, I’m fairly sure he hasn’t logged on for a while as certain things weren’t up to date. While I obviously swiped right, I’m curious as to whether it would be seen as inappropriate or possibly invasive if I were to reach out via the powers of social media. The night we had went well—it was all incredibly comfortable sexually, and I found him very interesting to talk to both before and after we hooked up. I should mention that I left rather swiftly that evening without grabbing his number in an attempt to “play it cool.” I definitely don’t want to cross social or personal boundaries, but I’d like to see him again.

Creep There’s nothing creepy about letting someone you fucked know you wanna fuck ’em again or, hey, maybe even date ’em for a while. It gets creepy only if they don’t respond, or if they politely decline, and you keep letting them know you would like to fuck/date them some more.

You liked him, you had a nice time, the sex was good—and you left, stupidly, without his number for fear of looking clingy or uncool.

Social media has come with costs—trolls, bullying, Donald Trump’s Twitter feed—but the ability to locate someone and ask for a do-over/ screw-over is one of the benefits. So look him up on Facebook or Instagram and send him a note. If you don’t hear back, consider yourself swiped left and move on.

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BY TIM CHAMBERLAIN OURVC.NET

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THE STRANGERER

BY PAT FALCO ILLFALCO.COM

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FEATURE

DEPT. OF COMMERCE

ARTS + ENTERTAINMENT

23

BOWERY BOSTON

For show announcements, giveaways, contests, and more, follow us on:

WWW.BOWERYBOSTON.COM • • • • LIVE MUSIC IN AND AROUND BOSTON • • • •

ROYALE 279 Tremont St. Boston, MA • royaleboston.com/concerts S

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N E W

A L B U M

T H E

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G L O W I N G

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A V A I L A B L E

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J U N E

THE

Zakk Wylde

FA L L OF

BOOK OF SHADOWS II

THIS THURSDAY! JULY 7

BAND OF SKULLS A P P E A R I N G

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TROY

W/ TYLER BRYANT & THE SHAKEDOWN, JARED JAMES NICHOLS

W/ OKKYUNG LEE

W / 6 8 I L L U STR ATI O N S

(8/12 SHOW IS SOLD OUT!)

SATURDAY, AUGUST 6

TUESDAY, AUGUST 9

ON SALE FRIDAY AT NOON!

ON SALE FRIDAY AT NOON!

W/ DOROTHY

SUNDAY, JULY 31

TUESDAY, AUGUST 2

WED. AUGUST 3

A T :

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blu e o c tob e r

W/ TAMARYN

W/ MOTHERS

TUES. SEPTEMBER 6

WED. SEPTEMBER 7

52 Church St. Cambridge, MA

WED. SEPTEMBER 14

THURS. SEPTEMBER 15

HALLELUJAH THE HILLS

(EP RELEASE) W/ THE BARBAZONS, THALIA ZEDEK BAND, BLACK BEACH

sinclaircambridge.com

THIS SATURDAY! JULY 9

THURSDAY, JULY 14

FRIDAY & SATURDAY JULY 15 & 16

W/ BENT SHAPES

W/ AN DR EW C O M B S

TUESDAY, JULY 19

FRIDAY, JULY 22

W/ SETH BOGART SHOW THURSDAY, JULY 21

WEDNESDAY, JULY 20

W UMB P RE S EN T S

SUNDAY, JULY 17

LANGHORNE SLIM & THE LAW ROA D TO N EW PORT FOLK

TUESDAY, JULY 12

MIRACLE LEGION

W/ TOLD SLANT, LOONE, BELLOWS

SATURDAY, OCTOBER 15

W/ THE WORLD IS A BEAUTIFUL PLACE & I AM NO LONGER AFRAID TO DIE, PRAWN

W/ LAWRENCE TAYLOR

THIS FRIDAY! JULY 8

FOUR SHOWS!

W/ CHRIS FORSYTH AND THE SOLAR MOTEL BAND

SUNDAY, JULY 24

ON SALE FRIDAY AT NOON!

W/ KLAUS JOH AN N GROBE

WED. SEPTEMBER 21

ON SALE FRIDAY AT NOON!

ON SALE FRIDAY AT NOON!

W/ FREE THROW, HIGH WAISTED

LIL YACHTY

W/ KACY & CLAYTON

WEDNESDAY, JULY 27

FRIDAY, AUGUST 19

WEDNESDAY, AUGUST 24

TUESDAY, SEPTEMBER 27

ON SALE FRIDAY AT 10AM!

ON SALE NOW!

ON SALE FRIDAY AT NOON!

ON SALE FRIDAY AT NOON!

FRIDAY, OCTOBER 28

SATURDAY, OCTOBER 29

W/ LONELY HEART STRING BAND

SUNDAY, OCTOBER 9

THURSDAY, OCTOBER 27

JESSY LANZA W/ WITHERED, LORD ALMIGHTY, COAGULA

W/ DJ TAYE

THIS SATURDAY! JULY 9

MONDAY, JULY 11

1222 Comm. Ave. Allston, MA greatscottboston.com

FRIDAYS AT 7PM!

‘s THE GAS

W/ WREKMEISTER HARMONIES, MUSCLE AND MARROW TUESDAY, JULY 19

W/ HALFSOUR, BEEEF WEDNESDAY, JULY 13

THE GAS PRESENTS

W/ SPIRIT GHOST

ALBUM RELEASE TOUR

FRI. & SAT. JULY 22 & 23 (EARLY SHOWS)

W/ AMASA HINES W/ WINSTONS TUESDAY, JULY 26

THURSDAY, JULY 14

FRIDAY, JULY 29

W/ SAND RECKONER

FRIDAY, JULY 22 (LATE SHOW)

SUNDAY, JULY 24

ON SALE NOW!

ON SALE FRIDAY AT NOON!

WEDNESDAY, AUGUST 24

WEDNESDAY, SEPTEMBER 28

≠ 7/10 SEBIO ≠ 7/12 RAINBOW KITTEN SURPRISE ≠ 7/17 SAFIA ≠ 7/30 HOLY WHITE HOUNDS ≠ 7/31 TWO COW GARAGE ≠ 8/1 FORN ≠ 8/3 NOMADS / PANZERBASTARD ≠ 8/5 IF THESE TREES COULD TALK ≠ 8/9 TTNG

OTHER SHOWS AROUND TOWN:

THU. SEPTEMBER 15 ARTS AT THE ARMORY

FRI. SEPTEMBER 23 MIDDLE EAST DOWN

FRI. OCTOBER 7 CITI WANG THEATRE

Tickets for Royale, The Sinclair, and Great Scott can be purchased online at Ticketmaster.com or by phone at (800) 745-3000.

No fee tickets available at The Sinclair box office Wednesdays - Saturdays 12:00 - 7:00PM

FRIDAY, NOVEMBER 4 MIDDLE EAST DOWN

FOR MORE INFORMATION AND A COMPLETE LIST OF SHOWS, VISIT BOWERYBOSTON.COM